The figures in Hopper’s art are not opponents of home per se; it is simply that in a variety of undefined ways, home appears to have betrayed them, forcing them out into the night or onto the road. The twenty-four-hour diner, the station waiting room and the motel are sanctuaries for those who have, for noble reasons, failed to find a home in the ordinary world—those whom Baudelaire might have dignified with the honorific poets.
